'Caught Stealing' Review: Aronofsky Gets Grungy
After catapulting Brendan Fraser to his first Academy Award, Director Darren Aronofsky has his sights set on further showcasing Austin Butler’s versatility in Caught Stealing, a wonderfully grungy tale of crime and chaos in 90’s NYC.
Caught Stealing centers on Hank (Austin Butler), an ex-baseball player with a traumatic past who gets enveloped in the seedy underworld of New York City after his neighbor asks him to watch their cat, forced to navigate exceedingly treacherous ground as he struggles to not only keep himself safe, but those he holds most dear as well. Joining Butler in this impressive cast is Matt Smith, Regina King, Zoe Kravitz, Liev Schreiber, Vincent D’Onofrio, and Bad Bunny. This stacked cast, coupled with a lively and potent script from Charlie Huston, make this a wildly fun, zany adventure that shows that Darren Aronofsky is capable of far more than most realize.
If there is one thing Aronofsky knows how to do incredibly well it’s pulling terrific performances out of his actors, proving this time after time with some of his most beloved films including Requiem For A Dream, Black Swan, and more recently The Whale. The director’s latest is certainly no exception, each member of the cast not only bringing some of their sharpest work, but calibrating their performances perfectly to the material and overall tone Huston and Aronofsky establish from the jump. Butler has shown a terrific versatility in recent years which is further showcased here. Hank is a deeply flawed, but likable character, his traumatic past unfurled in bits and pieces like his fragmented memories of events. Butler imbues Hank with an innate earnestness and warmth that makes him a protagonist that’s easy to root for despite his many flaws. The talented actor grounds the film emotionally especially when Hank’s situation becomes increasingly more dire, always captivating to watch.
The supporting performances are also very strong, Kravitz delivering some solid work as Hank’s love interest and emotional support system. The two of them have palpable chemistry throughout, bringing out the best in each other as their blooming romance is truly put to the test. Smith is also delightfully deranged as Hank’s neighbor Russ, always teetering on the edge of likability with a grungy, unpredictable flair. However, the pairing of D’Onofrio and Schreiber is electric here, the pair playing Jewish mobsters Hank crosses paths with. They are captivating to watch, not only delivering laughs in droves, but establishing a naturally magnetic chemistry that makes it hard to take one’s eyes off of the duo. This is a world populated by colorful, eclectic characters which only adds to the overall entertainment value and level of immersion.
Aronofsky’s direction is surprisingly well-suited for the material. He adds a kinetic propulsion to the story, keeping things moving and vibrating even when the film decides to hit the brakes and slow things down. His direction remains thoughtful and meticulous, making great use of framing and blocking to make the viewer truly feel like a fly on the wall as Hank is slingshotted from one crazy situation to the next. There are even a few action set pieces that are surprisingly effective, well-shot and energized, utilizing Butler’s impressive agility and the perfect canvas that is New York City. This may not be the kind of story fans of the acclaimed director would think he would or even could tackle, but he clearly wanted to have some fun behind the camera and veer into uncharted territory, a gamble that mostly pays off here.
Huston’s script is the biggest asset the film possesses by a landslide. Huston, who also wrote the novel on which the film is based, does an effective job at balancing the thrills with emotionally satisfying character work, especially when it comes to Hank. There are plenty of laughs, twists, turns and visceral moments scattered throughout, not only keeping viewers considerably entertained and on their toes, but emotionally invested as well. The beating heart of this story could’ve easily been swallowed up by the sheer amount of chaos and mayhem within it, but fortunately Huston and Aronofsky refuse to let that happen.
Unfortunately, this is a film that does have its fair share of issues. The pacing is a sizable hindrance, the film screeching to a halt on several occasions to spin its wheels narratively as it slowly barrels to the next set of wild circumstances for Hank. Every time it gains momentum and starts hitting its stride, the pacing takes a swift right hook to the chest, creating a frustrating and uneven experience. Not helping matters is the fact some of the supporting characters are not only poorly fleshed out, but some of them even feel like cartoonish caricatures that seem as if they belong in an entirely different film. As a result, there are several scenes where there is a noticeable tonal dissonance, exposing the film’s struggle to find its true tone and identity.
Caught Stealing is easily Aronofsky’s most mainstream and accessible film to date, but that shouldn’t come across as worrisome for passionate fans of the director. His signature direction and focus on character, coupled with fantastic performances and a refreshingly offbeat script from Huston, make this grimy tale one that should connect and linger with audiences. It may not be Aronofsky’s best film to date, but it’s absolutely his most fun.